Word: fellinis
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Dates: during 1970-1979
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Padre, Padrone. Paolo and Vittorio Taviani's entrancing film about the loam-to-letters life of a bestselling Sardinian author from humble peasant origins provides the most convincing evidence since Bertolucci's "Last Tango in Paris" of the resilient vitality in Italian cinema, the recent excesses of Fellini, Antonioni, et al. notwithstanding. The Taviani brothers' first film to receive international attention, it features a host of mind-gripping sequences destined to set apart "Padre, Padrone" as one of the most important films to cross the Atlantic in the late 1970s. To name only two: the unforgettable series of shots capturing...
...Chaplin's nine children gathered in Corsier-sur-Vevey, the small village where he had lived for the last 25 years and where he was laid to rest in a plot overlooking Lake Geneva. Chaplin was "a progenitor from whom everybody else descends," noted Italian Director Federico Fellini, adding his voice to a worldwide chorus of eulogies. "His was a figure that, even when it first appeared, had something mythical and eternal about...
...director, Wilder fares somewhat better. The film looks handsome, and its few reflective scenes express an idiosyncratic affection for the mythos of American movies. The shots of Hollywood sound stages and Beverly Hills vistas have a Fellini-esque quality, as does a dreamy sequence in which the film's two Rudys spend an unlikely afternoon together. Better yet, The World's Greatest Lover ends with a rush of feeling for both movies and people that is surprisingly touching. While the climax has nothing to do with the film that precedes it, one can at least hope that...
...patriotic mission-to read some poems at a gala Italian program in honor of the 60th anniversary of the Russian Revolution-Yevtushenko also went to the theater with an Italian heiress, jogged in the Villa Borghese and told a reporter how deeply he had been affected by Federico Fellini's most recent movie, Casanova. "I am a woman chaser," said the poet, 44, "and Fellini made me understand how hateful it is to touch a woman you don't love. From the moment I saw that film, it was as though I had been sick. I couldn...
...Nureyev's Valention remains a distant figure, a romantic anachronism bursting forth with panache and charisma and little else. Russell seems to persist in the belief that audiences enjoy having their senses assaulted and will consider it entertainment; grotesques and caricatures dot the screen in Valentino, evoking some of Fellini's lesser films. The ambience of the Twenties is effectively recaptured by the film, but Valentino never gets around to addressing the ethos that prevailed in the America of that fabled epoch. And judging by this performance, Michelle Phillips would do well to try a comeback as a reconstructed Mama...